Category Archives: Music

At the performance of Goldberg at the Park Avenue Armory, starring Igor Levit with direction from Marina Abramovic and lighting by Urs Schonebaum, I was entranced by the commingling of artistic voices and how they translated into a pure expression of music for the audience to experience.

We were asked to lock up our belongings and we were then given a score and noise-canceling headphones. We found lounge chairs in which we were to sit, facing the center of the Drill Hall, which was illuminated by four screens of bright, white light (reminiscent of the productions of Robert Wilson).

The first gong rang and we obediently placed our headphones on as the instructions dictated. With my headphones on, I was immediately reminded of John Cage and his revelation that one could never be in complete silence because one always hears two sounds – the high pitch of the central nervous system and the low murmur of blood in circulation. Once I acknowledged this, I tried to focus on the experience of the Abramovic Method for Music and “embrace the unfamiliar sensation of doing nothing.”

But then, I saw Levit sitting at the piano on the platform, slowly making its way toward the center of the Drill Hall. I was captivated by his presence and his lack of stillness. He was clearly antsy, fidgety, maybe even nervous (in all fairness, it was the dress rehearsal). He had a long slow journey ahead of him and yet, he could not settle into the moment. I couldn’t tear my attention away. I had to keep watching as he continued toward the center, my own anxiety heightened by this spectacle. I wanted to stand up and yell, “Get it together!” But then again, who am I?

The second gong rang and we removed our headphones in order to listen, as the instructions stated. A horizontal line of white light appeared along the edges of the hall and above the piano keys, flooding Levit’s hands in light. “Framing the space using light, ” says Schonebaum, “gives a focus point for the audience and the freedom for the music to go beyond.”

Levit then began to play what Peter Laki describes as “nothing short of a complete encyclopedia of musical forms, styles, and keyboard techniques existing in Europe in Bach’s time.” Levit’s hands seemed disconnected to everything in the world as he played the 30 variations ranging from involved hand-crossing pieces to the “lavishly ornamented slow movements.” The platform on which Levit was seated slowly rotated in a circle, and as it did, the horizon line of light was reflected along the piano’s curves, creating an additional dynamic and subtly beautiful focal point.

The pianist finished by repeating the first variation and upon its completion, the audience broke into a thunderous applause. Finally free to do something other than listen. It was a transformative moment, like waking up from a nap in which everything in the world somehow becomes aligned and there is clarity where there wasn’t before.

After the performance, my friend and I were sharing our thoughts on the experience. I knew he had his eyes closed during the Abramovic Method part, and, not wanting to disturb his meditation, I didn’t nudge him to watch Levit’s journey to the center. He responded by saying, “Next time a musical prodigy is floating down the middle of a monumental art space in what appears to be an inexplicable moment of anxious freak out and tremendous build-up…And I have my eyes closed deep in nirvana…Wake me up!!!”

All in all, Goldberg is a masterwork in experiencing classical music, which Abramovic believes is the “most immaterial form of art.”

In a very last minute, last ditch opportunity, I found myself sailing for Lady Gaga’sartRAVE concert extravaganza to celebrate her album, ARTPOP at the Brooklyn Navy Yards.

Artist Jeff Koons co-hosted the event, showing off his larger-than-life sculpture of Lady Gaga – a breathtaking and hypnotizing piece of art. You can sense Lady Gaga’s aura through the work.

Prior to the concert, there were extremely polished video projections of her new music video, her studies at the Marina Abramovic Insitute, and a 3-channel video projection of herself being tortured. Although difficult to watch, especially surrounded by the merriest “Little Monsters” in the world, it was very well done.

Art world royalty was also in attendance including Yoko Ono, Simon de Pury, and Klaus Biesenbach.

What I came away with from the event is that Lady Gaga is a true artist. She has surrounded herself with great artists and she has learned their craft. The most noticeable influence is that of Marina Abramovic, with whom Lady Gaga has been studying. There is a new focus, a new concentration to her. I also saw references to the Fluxus Movement and to Robert Wilson with his iconic gestures. She is wholly devoting herself to her craft, to her art, exposing her body and giving herself to the audience.

But aside from the flawlessness of the evening, there was also an overall sense of peace and happiness and acceptance. Strangers were telling me that I was beautiful and I made friends with a few people around me.

How could you not be happy in Gaga’s world? And it is her world. She sits atop a throne, legs apart, commanding attention.

After the concert ended, I shook Jeff Koons’ hand and told him that the sculpture was stunning.

And then I locked eyes with Darren Criss. A beautiful end to my memorable night.

In true Critter & Guitari fashion, Chris Kucinski and Owen Osborn invited their friends Devin Flynn, Ross Goldstein, Raphael Griswold, and even me to collaborate and make some new sounds. (Bennett would have also jammed with us like he did at the Experimental Television Center, but he had to operate the AV equipment.) The hour-long jam incorporated the sounds of the Pocket Piano family (including the first prototype), the Kaleidoloop family, and the Bolsa Bass along with a variety of analog instruments.

The exhibition brings together masterworks, collaborations, and homages by these important and influential artists who wanted to challenge the notion of art. They experimented with what is defined as art, how art is created, and how it is experienced.

Throughout the exhibition of over 100 pieces, it is evident the star is Marcel Duchamp. He is the genius who wished to debunk “preexisting ideas about art, which he believed should appeal to the intellect rather than the senses.” He turned the art world on its head with his notion of “readymades” – objects that he found to be art, the most famous being Fountain, 1917. These pieces, as well as other work including drawings, paintings, photographs, scores, and installations tested originality, concept, and taste.

Marcel Duchamp, Door 11. Rue Larrey, 1927

The remaining four artists were very much influenced by Duchamp, but also – not knowing all of his entire oeuvre – their thought process in making art in ran parallel in some regards.

In one example, John Cage and Merce Cunningham did not realize that Duchamp had used the idea of “chance” in his artwork. The concept of “chance,” made famous by Cage and Cunningham explored how the outcome of the an artwork was dictated by the unknown. Certain parameters were put in place and the rest was up to chance – whether it was musical notes or silence, or movement or stillness and so on. And so, when Cage found out about Duchamp’s use of chance, realizing that it occurred in the year of his birth – he did not find that to be a coincidence.

In another example, Duchamp’s concept as key, exploring the distinctions between original and replica, object and idea is examined by Robert Rauschenberg and Jasper Johns. Rauschenberg created “combines” – sculptures made from nontraditional materials while Johns made paintings that explored what you were looking at as a physical representation.

One of the most interesting aspects of this exhibition is the interplay between the artists. They all influenced or collaborated or co-opted certain aspects of each other’s work. The portraits by Rauschenberg were so interesting and so spot-on in my opinion. I also enjoyed how Johns used the mold from Duchamp’s Étant donnés: 1° la chute d’eau / 2° le gaz d’éclairage in his paintings.

And maybe the most meaningful thing I took away from the exhibition is how sincere these artists were about art. They were dedicated to exploring, experimenting, and pushing the bounds. They did not hold back, they learned from each other and challenged each other. I believe that because of that, their influence is pervasive today.

All in all, I thought the exhibition was a unique opportunity to see spectacular works – shown in conversation with each other – by Cage, Cunningham, Johns, Rauschenberg, and of course, Duchamp.

The event was held at the Meulensteen Gallery who provided a special preview of Katayoun Vaziri: Yeki Bud, Yeki Nabud. The show’s title comes from the traditional opening lines of Persian fairytales, which is Farsi for “one was, one was not.” The exhibition looked at media images of unrest throughout the world in drawings and painting. It also included a video projection of a drawing of the artist in conversation with President Obama. It was very topical though not extraordinarily intriguing because those images are so saturated in our culture.

As everyone settled into their seats for the concert, Executive Director of CMS, Norma Hurlburt introduced the musicians, Kristin Lee on violin, Pierre Lapointe on viola, and Nicholas Canellakis on cello. The musicians played two pieces, Bohuslav Martinu’s (1890-1959) Duo No. 2 for Violin and Cello, H. 371 (1958) and Erno Dohnanyi’s (1877-1960) Serande in C major for Violin, Viola and Cello, Op 10 (1902).

Having not heard much chamber music, I can tell you that the pieces were very rich and interesting. My favorite part was being so close to the musicians, seeing how they interacted with each other and actually seeing how the sounds were made. It was all very conversation-like.

All in all, I enjoyed the evening with the unique opportunity to listen to chamber music downtown.